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Wilhelm Nero Pilate Barbellion - In this diary of an intensely egotistical young naturalist, tragically caught by the creeping approach of death, we have one of the most moving records of the youthful aspects of our universal struggle

W. N. P. Barbellion, The Journal of a Disappointed Man & A Last Diary, The Hogarth Press, 1984. [1919.]read it here

Wilhelm Nero Pilate Barbellion was the nom-de-plume of Bruce Frederick Cummings (7 September 1889 - 22 October 1919), an English diarist who was responsible for The Journal of a Disappointed Man. Ronald Blythe called it "among the most moving diaries ever created". His diaries up to the winter of 1917, which he revised and corrected prior to publication, were eventually published in March 1919 under the title The Journal of a Disappointed Man. He chose the pseudonym "W.N.P. Barbellion" to protect the identities of his family and friends; he chose the forenames "Wilhelm", "Nero" and "Pilate" as his examples of the most wretched men ever to have lived. The first edition bore a preface by H.G. Wells, which led some reviewers to believe the journal was a work of fiction by Wells himself; Wells publicly denied this but the true identity of "Barbellion" was not known by the public until after Cummings' death.

W. N. P. Barbellion was the pen-name of Bruce Cummings, a British entomologist who died of multiple sclerosis at the age of 30 in 1919. “Barbellion” he chose because it sounded grandiose; “W. N. P.” stood for “Wilhelm Nero Pilate.” His complete works can be found in very readable format at Ray Davis’s pseudopodium.org; best-known is The Journal of a Disappointed Man, packaged here with a sequel, A Last Diary. Barbellion has fallen into the public domain; there are innumerable shoddy print-on-demand editions of his work on Amazon; but the one I read was properly printed by the Hogarth Press in 1984; it includes a useful biographical introduction by Deborah Singmaster, though it doesn’t include his older brother’s useful preface to A Last Diary. I don’t know anything about the Hogarth Press in post-Woolfian incarnations, but they did publish the copy of Proust’s Contre Sainte-Beuve in English that I have, also from 1984, titled By Way of Sainte-Beuve, in the same format as this one. I find it odd that it’s so hard to find a copy of that book by Proust in English; but I’m inclined to look warmly on anyone who’s publishing it. Looking online, it seems like Chatto & Windus bought Hogarth in 1946; Random House UK bought out Chatto & Windus in 1987, which might be why both of these books seem to languish in publishing limbo at the moment. There seem to have been a few editions of his work since 1984, but they’re hard to find. A second collection, Enjoying Life and Other Literary Remains seems to be even more vanishing.The Journal of a Disappointed Man is composed of edited extracts of Cummings’s journal, starting when he was thirteen (when he reports that he has “abandoned the idea of writing on ‘How Cats Spend their Time’”) and ends in October of 1917, when he was twenty-eight; the final sentence in that book, seemingly intended to be facetious, declares that “Barbellion died on December 31,” although actually Cummings lived until June of 1919. The Journal records his life, first as he struggles to educate himself enough to become a zoologist, eventually ending up with a mostly thankless job as an entomologist at the Natural History Museum in Kensington. Barbellion has never been in the best health, however; his health worsens as the book continues. In a moment of respite he marries and has a child; his interests turn increasingly to music and literature, and the journal (in its edited form) becomes increasingly a creative rather than a documentary project: in February 1916, for example, he is reading the Goncourts’ Journal. His illness is diagnosed as what would come to be called multiple sclerosis, but the fact is hidden from him; he discovers that before his marriage, his family took his wife-to-be aside and informed her of this. The Journal of a Disappointed Man is thus something of a familiar form: the record of a man who knows he must die trying to find the most honorable way to prepare himself. This might lend itself to the bathetic; but Barbellion’s work mostly escapes this, perhaps because of the time it was written in: after Darwin (and perhaps Thomas Hardy, who can be felt her), religion has been tossed out as a method for understanding the world. Barbellion’s approach to his predicament has an almost clinical feel, as this excerpt from an entry from January 20, 1917 suggests:I am over 6 feet high and as thin as a skeleton; every bone in my body, even the neck vertebræ, creak at odd intervals when I move. So that I am not only a skeleton but a badly articulated one to boot. If to this is coupled the fact of the creeping paralysis, you have the complete horror. Even as I sit and write, millions of bacteria are gnawing away at my precious spinal cord, and if you put your ear to my back the sound of the gnawing I dare say could be heard.(p. 274)
Although it’s a powerful image, bacteria don’t actually eat the spine in multiple sclerosis; perhaps that was a valid theory at the time. Despite this jaundiced view – and perhaps patches of depression, though the conscious editing makes it hard to tell – Barbellion takes life as it is and enjoys it: disease is a part of the natural world. The progress of the disease lends an inexorable narrative arc to the book – a possible treatment is mentioned a single time, but there’s a war on & it’s clear that it’s going to be terminal. This progression is modulated by the inclusion of A Last Diary, which stretches from March 1918 to June 1919: this book actually was published posthumously, and it records the progress of the Journal (being championed by H. G. Wells) through the presses. The Diary serves to give something of a happy ending to Barbellion’s story: while the disease grows ever more agonizing, the success of the Journal will allow him to provide for his widow and child, and his literary endeavors have been appreciated.
For its subject, Barbellion’s work isn’t as dark as it might be: the naturalist’s curiosity never leaves him, even though he eventually tires of the institutional structures in which he is made to work. The penultimate entry in A Last Diary captures this:Rupert Brooke said the brightest thing in the world was a leaf with the sun shining on it. God pity his ignorance! The brightest thing in the world is a Ctenophor in a glass jar standing in the sun. This is a bit of a secret, for no one knows about it save only the naturalist. I had a new sponge the other day and it smelt of the sea till I had soaked it. But what a vista that smell opened up!—rock pools, gobies, blennies, anemones (crassicorn, dahlia—oh! I forget). And at the end of my little excursion into memory I came upon the morning when I put some sanded, opaque bits of jelly, lying on the rim of the sea into a glass collecting jar, and to my amazement and delight they turned into Ctenophors – alive, swimming, and iridescent! You must imagine a tiny soap bubble about the size of a filbert with four series of plates or combs arranged regularly on the soap bubble from its north to its south pole, and flashing spasmodically in unison as they beat the water.(pp. 382–3)
I don’t think Stanley Elkin, a very different writer who also suffered from multiple sclerosis, ever wrote about Barbellion’s work; I hope I’m wrong. - withhiddennoise.net/2010/12/w-n-p-barbellion-the-journal-of-a-disappointed-man/

Behold: a body, mind, and voice situated in place, in time and space—moving, moved, and immovable. Steven Seidenberg’s SITU is a hesitant unfolding of demise, a text occupying the interstices between diegesis, philosophy, and poetry. The narrative’s tension finds form in an indeterminate subject’s relationship with a bench: an anguished site of rest and motion. Proving and parodying an epistemology of volition, the unstable narrator imbues their wildly despairing circumlocutions with great poetic urgency. This “thinking thinking” moves in and out of the thinking body it observes, displaying a devastating portrait of the paradoxes at the basis of all willful or inadvertent representation. SITU is a dramatic intensification of Seidenberg’s career-long blurring of fiction, poetry, and philosophy—an accomplishment recalling the literary contributions of Blanchot, Bernhard, and pre-impasse Beckett.

Leon Forrest, The Bloodworth Orphans, University Of Chicago Press, 2001.

Leon Forrest, acclaimed author of Divine Days, uses a remarkable verbal intensity to evoke human tragedy, injustice, and spirituality in his writing. As Toni Morrison has said, "All of Forrest's novels explore the complex legacy of Afro-Americans. Like an insistent tide this history . . . swells and recalls America's past. . . . Brooding, hilarious, acerbic and profoundly valued life has no more astute observer than Leon Forrest." All of that is on display here in a novel that give readers a breathtaking view of the human experience, filled with humor and pathos.

If you plow through (or skip over) Forrest's unreadably dense, ten-page ""List of Characters,"" you'll reach the slightly less convoluted now-and-flashback story of ""Mother-Witness"" Rachel Flowers, the children she bore, the children she adopted, and the orphans and bastards around them-…

Norman Levine's stories, so spare and compassionate and elegant and funny, so touching, sad, fantastic and unforgettable, rank alongside the best published in this country. Celebrated abroad, his work was largely unknown in Canada, except among the generations of writers he influenced, from André Alexis and Cynthia Flood to Lisa Moore and Michael Winter, who passed his work among themselves and learned much of their craft from studying Levine's own. His work long out of print, his entire output of short stories are collected here together for the first time, to be discovered by a new generation of Canadian readers and writers.

Norman Levine was a permanent outsider, by temperament and by choice — as Polish born immigrant, as resident alien, as writer, as Jew — and he observed life from the margins with an unsentimental eye. Raised in Ottawa after immigrating, Levine served in the Royal Air Force during t…